Rock Reliefs

Archaeology of children and childhood is rather a new field of study within archaeology and anthropology. However, it is very difficult to trace the presence of children in archaeological material. Their manifestation is mainly limited to mortuary, artefacts or objects considered to be toys or built environment that too may have been either in connection with specific items used by or were in relation to children or iconographic evidence from past. The present study tries to examine depictions of children in Sasanian rock reliefs which have long been the subject of extensive research, nevertheless it seems such depiction on art objects was not a matter of attraction by itself. On the other hand, lack of coherent literary evidence about social status, roles and realm of children and childhood in the Sasanian society leave many questions unanswered. Hence, despite a large number of researches in the field of Sasanian history and archaeology, one cannot postulate a coherent research background specific to the aforementioned subject. Children are displayed in a number of Sasanian rock reliefs which are introduced and presented in chronological order. Identity of these children and purpose of their depiction is discussed based on available works. Although, the historical identity of these children may never be certainly established, but those shown in investiture and parade reliefs of Ardashir I, Shapur I and Narseh at Firuzabad, Naqsh-e Rajab and Naqsh-e Rustam are certainly the children of high status or having royal lineage. In two of Shapur I reliefs, a putto is depicted and a probably captive child –enemy’s son- are seen in Bahram II/Shapur II relief in Tang-e Chowgan.

Symbolic figures, in addition to decorative aspects, are indicator of culture, religion, art and political and social structures of a government and country in ancient times. During the Sassanid era, symbolic figures flourished further with the mixture of religion and polity and their examples can be seen in most of the remaining artworks from the same era that could found during archaeological excavations. Investigation of symbolic figures in the Sassanian rock reliefs and stucco is a necessity but unfortunately, has not been independently and elaborately addressed to this date. It is necessary to investigate this significant aspect using archaeological and historical evidence. This study, which is considered as a kind of fundamental research based on its objective and a historical one with respect to its nature and methodology, obviously indicate that the dominant symbolic figures in Sassanian rock reliefs and stucco have had religious origins.

Sasanian Empire was one of the most powerful periods in ancient Iran. Archaeological evidence and traces, and Sasanian and Post-Sasanian texts show cultural and artistic relations of the Sasanian Empire from the East to the West. However, official Sasanian methods of warfare are one of the most important legacies of the period that have been less studied. These offensive and defensive arms and armor can be analyzed by looking at remaining evidence left by kings and officials within the national borders to the lands abroad. Sasanian swords are depicted on rock reliefs, silver dishes, and coins (drachmas and dinars). Although studies have been done on the classification of Sasanian swords shown on rock reliefs, no systematic study on the depiction of Sasanian swords on Sasanian drachms has been done so far. The following paper tries to restudy the subject by comparing the swords depicted on Sasanian coins and compare them to the swords shown on rock reliefs and dishes. Sasanian swords are depicted on different Sasanian royal arts such as Sasanian coins, Sasanian silver dishes, and Sasanian rock reliefs. Different elements will be taken into consideration such as the shape of swords in general and their method of hanging from the belt in particular. A closer look shows that Sasanian drachmas and dinars show two major types of hanging Sasanian swords via a scabbard slide system: A. hanging the sword in front of the body. B. hanging the sword on the left or the right hip. Additionally, the following paper will compare them to some extant examples of Sasanian swords that are kept in museums and private collections.